Gnomon Establishes StudiosGnomon School of Visual Effects has established Gnomon Studios, where advanced students prepare for professional careers by working on short films in a studio environment under the guidance and mentorship of production professionals.

Singular Software Makes Magic in VegasSingular Software, a developer of automation applications for postproduction, has released the first beta download for the recently announced Singular Software Presto.

GenArts Unleashes MonstersGenArts, Inc. has introduced Monsters GT for Adobe After Effects. This unique collection of effects encourages endless creativity, making Monsters GT the perfect complement to the everyday tools found in the company’s Sapphire 5 for After Effects.

Boris FX Streamlines AAF TransfersBoris FX, a developer of integrated effects technology for video and film, has announced Boris AAF Transfer, a new plug-in designed for seamless transfer of Apple Final Cut Pro sequences to Avid Media Composer.

Boris FX Fills Gaps with FxPlugBoris FX has announced the availability of Boris Continuum Complete 7 FxPlug, which brings over 210 filters to Apple Final Cut Pro, Motion and Final Cut Express.

EUE/Screen Gems Unveils Atlanta StudioComplementing its facilities in New York and North Carolina, EUE/Screen Gems has opened a studio complex with multiple stages and support services minutes away from the Atlanta, Ga., airport.

VES Announces Production Summit 2010The Visual Effects Society will hold its second annual Production Summit for the greater entertainment industry on Oct. 23 at the Ritz Carlton Hotel in Marina del Rey, Calif.

Sharp Focus from Redrock MicroRedrock Micro has introduced the MicroRemote Focus System, an affordable, high-performance, wireless/wired focus-control system designed for use with any camera.

Tyler Offers MiniGyroAfter three years of design, development and testing, Tyler Camera Systems has unveiled the MiniGyro camera-stabilizing mount. The handheld MiniGyro supports and stabilizes cameras weighing up to 30 pounds.

AJA Upgrades Ki Pro FirmwareAJA Video Systems has announced the availability of version 2.0 firmware for the Ki Pro portable digital-video recording device.

Lightcraft, Mo-Sys Forge AgreementLightcraft Technology and Mo-Sys, who have independently developed affordable solutions to simplify the tracking and visualization of complex visual-effects shots, have announced they will combine their product offerings in order to provide a full range of virtual-production tools for the entertainment industry.

3cP Guides Images on Set, in PostGamma & Density has announced that its 3cP on-set color-correction system for cinematographers has been extended for use during the pre-post and post phases of a production.

Calibrated Software Decodes AVC-IntraCalibrated Software has expanded its Calibrated{Q} family of QuickTime components with the introduction of Calibrated{Q} AVC-Intra Decode, a QuickTime decode codec that expands AVC-Intra-based postproduction by providing an easy and high-quality way to independently work with and view AVC-Intra files.

Avid Takes Editing Line to Next LevelRaising the bar on format flexibility, openness and speed, Avid has introduced the Media Composer v5, NewsCutter v9 and Symphony v5 editing systems.

Media 100 Upgrades SuiteMedia 100, a provider of advanced editing systems for the corporate, broadcast, postproduction and new-media industries, has announced the availability of Media 100 Suite Version 1.6.

The Kodak Depth of Field Calculator and Contact application is now available as a free download from the iTunes App Store. The second Kodak Cinema Tool to be released by the company so far this year, the app helps filmmakers determine the correct settings for achieving desired focus, and connects them with Kodak around the world at the touch of a button.

The Kodak Depth of Field Calculator app has fields for entering known data — such as film format, F-stop, focal length and subject distance — and then computes the near limit, far limit, hyperfocal distance and circle of confusion. Results can be in feet or meters, and calculations can be made for any combination of remaining variables. The application also includes a Kodak Contact tool for instant access to a nearby Kodak office for product supplies, or to reach a Kodak representative to answer any preproduction, production or post questions.

“Filmmaking is a global industry, and our objective is to help bring useful mobile tools to the fingertips of filmmakers regardless of where and when they are shooting,” says Nicole Phillips, Kodak’s director of Web marketing for the Entertainment Imaging Division. “This app is designed to provide quick, accurate information, and to help connect us to our customers, so we can provide the products and services the creative community needs to get their projects completed.”

S.two Corporation has announced uncompressed 3-D capture and workflow support with the latest version of its successful OB-1 onboard recorder for digital cinematography.

The upgraded OB-1 has full 3-D recording capability for two digital-cinematography cameras at 4:4:4 or ArriRaw T-Link 3K. Utilizing “quad link” HD-SDI for two streams of uncompressed 4:4:4 recording and playback, combined with onboard monitoring, external timecode and remote start/stop capabilities, the OB-1 is ideal for any 3-D-based production using high-end digital cameras.

The OB-1 is part of a full portable 3-D workflow that also includes the latest version of S.two’s FlashDock transfer station. Featuring automated real-time editorial dailies, data-based redundant archive to optional built-in LTO drives, RS422-controlled dual-link HD-SDI output and fast lay-off to e-SATA hard drives, S.two calls the FlashDock a “3-D workflow in a box” for all file-based or Sony SRW applications.

“With the growing popularity of 3-D productions, we have introduced quad-link support for dual 4:4:4 cameras as a free upgrade for all OB-1 users,” says Steve Roach, vice president of S.two. “Quad link also turns on 4:4:4 to 60p and vari-frame recording for Arri D-21 cameras as well as 50 fps ArriRaw, and positions OB-1 for full Alexa support. These upgrades continue S.two’s commitment to keeping our customers at the leading edge of technology at minimal cost.”

P+S Technik has introduced a number of new Modules for the company’s SteadyFrame Universal Format Scanner.

The Digital Splice Repair Module is designed to eliminate jumping frames caused by bad splices. The Pinless Shuttle Module allows the latest SteadyFrame model to shuttle 16mm and 35mm film at 50 fps in locked mode. Additionally, the Sound Module enables the scanner to transfer optical sound for 16mm and 35mm film in one pass, while scanning the images.

The SteadyFrame Universal Format Scanner features a film transport system designed for quick and easy exchange between formats. The gentle sprocket and pin-free registration enables excellent image stability further enhanced by the software-based Perforation Recognition System, developed in cooperation with the University of Applied Sciences Munich. The graphical user interface and intuitive design make the scanner easy to use.

Gnomon School of Visual Effects has established Gnomon Studios, where advanced students prepare for professional careers by working on short films in a studio environment under the guidance and mentorship of production professionals.

The studio is located on the Gnomon lot at 1015 N. Cahuenga Blvd. in the heart of Hollywood. To provide an authentic training experience, the structure of Gnomon Studios mirrors professional visual-effects shops. Students work in various roles ranging from concept artists and animators to art directors and producers. Following industry production standards, the director of each project takes on the role of the external client. Additionally, the director works with Gnomon School of Visual Effects founder and director Alex Alvarez, and other Gnomon instructors and staff to serve as mentors and help guide students through the production process.

“While Gnomon students participate in group projects through their lab work, those projects don’t necessarily reflect the real-world structure and workflow of a visual-effects studio,” says Alvarez. “Through internships at Gnomon Studios, our students are able to collaborate with renowned directors like Shane Acker on professional projects in a realistic studio environment. These projects give students invaluable experience working in roles directly linked to their career paths, which is already resulting in outstanding job placements for our recent graduates.”

Gnomon Studios is currently working on Acker’s new short film, Plus Minus. Such projects will be the core production focus of Gnomon Studios. Alvarez also expects Gnomon Studios to contribute to the occasional feature project when opportunities arise, as recently happened with the series Fringe and the forthcoming feature, Green Lantern. “The students at Gnomon Studios are learning to work at the forefront of digital production, and making a short film is a great way to explore and test what they’ve studied in the classroom,” says Acker. “The Gnomon Studios interns are learning that it’s about bending the software tools to the will of the narrative and finding creative ways to find solutions to tell the story. This practical experience and exposure to the rigors of film production is helping to prepare the interns at Gnomon Studios for the real world.”

Sony Creative Software has introduced its Vegas Pro 9.0d software, the most recent update to the company’s award-winning nonlinear HD video and audio editing application. Vegas Pro 9.0d now features superior closed-captioning support for broadcast editors in addition to multi-layer PSD file support, providing a highly flexible model for professionals to quickly create complex animation from a single Photoshop Document image, and timeline burning to DVD for enhanced editing flexibility and efficiency for creative professionals.

Additional new features in Vegas Pro 9.0d include improvements to the device explorer, which significantly increase support for additional cameras and devices, including hard disk and memory recording devices; and the PreSonus FaderPort control surface, offering additional flexibility for controlling and automating Vegas Pro 9.0d via hardware other than mouse and keyboard.

Singular Software, a developer of automation applications for postproduction, has released the first beta download for the recently announced Singular Software Presto. Designed to work inside Sony Vegas Pro, Singular Software Presto eliminates the complexities of piecing together presentations by automating the assembly of presenter video and slides, saving hours in the edit room.

Vegas Movie Studio HD Platinum 10 is an easy-to-use, full-featured video-editing application providing the tools to create professional-looking high-definition projects while also continuing to support standard-definition media. New features include image stabilization, which incorporates ProDAD plug-in technology and allows users to quickly stabilize shaky video footage using several optimized presets, and slideshow creator, which simplifies the creation of slideshows and allows users to quickly create pan/zoom effects and transitions across a set of still images. Vegas Movie Studio HD Platinum also allows up to 10 video tracks and 10 audio tracks so content creators can utilize more tracks for organizational options or to embrace more complex projects and compositing techniques. Additionally, new color-correcting tools provide users with the ability to rapidly fix video shot with incorrect color levels.

Vegas Movie Studio HD Platinum utilizes the GPU in equipped computers to improve AVC rendering performance and speed, and a Device Explorer window allows user to quickly browse the contents of AVCHD, hard disk and Memory Stick devices, offering a more efficient way to retrieve and edit content. Furthermore, in addition to delivering projects via Blu-ray discs, traditional file-based hard disk and streaming-media formats, users can now burn a DVD directly from the timeline.

AJA Video Systems now offers its Kona line of capture cards with software for both Mac and Window-based systems. The company is folding its Xena line of capture cards, designed for the Windows platform, into the Kona product line, giving customers the software and flexibility to use Kona cards on all platforms at no additional cost.

The Kona family is AJA’s line of 10-bit uncompressed capture and playback cards for video and audio input and output. Kona supports SD, HD, Dual Link 4:4:4 HD and 2K formats. Effective immediately, every new Kona package shipped will include both Mac and Windows software and documentation. Current customers will experience no change in functionality or service, and Windows-based customers can find support on the AJA website under “Kona for PC.” Updated drivers for either Mac or PC platforms are always available online; AJA recommends users check the AJA website to ensure they have the latest drivers and software.

“Our goal is to simplify our customers’ experience and give them greater value,” says Nick Rashby, president of AJA Video Systems. “The postproduction world is not homogenous, and offering a single product line with identical functionality that customers can use on either or both platforms, for the same cost, recognizes their need for ease of use and flexibility.”

Kona for PC software is available for Windows 7, Windows Vista and Windows XP, with the same system specifications that have been previously published for Xena. Customers using Apple Mac Pro towers are able to install the Kona for Mac software to work under OS X and the Kona for PC Windows software under Apple Boot Camp to work cross-platform on the same machine.

AJA has also announced support for Adobe Creative Suite 5 Production Premium software across its full line of Kona cross-platform I/O cards and the Io Express portable I/O interface. AJA’s new plug-ins also provide support for the Adobe Mercury Playback Engine and 64-bit processing for fast, efficient and stable performance and productivity.

AJA Video Systems has introduced the FiDO family of SDI/Optical Fiber Converters. The FiDO (Fiber Digital Optical) line comprises five SDI/Optical Fiber converters that enable the transport of SDI, HD-SDI and 3G SDI over distances of up to 10km. Designed for use both indoors and out, FiDO converters pass the complete SDI signal (including audio and/or metadata) and meet all relevant SMPTE specifications. Their low-profile enclosure enables use in tight spaces around and behind equipment racks, trucks and crowded facilities.

The FiDO family is made up of the FiDO-R (single channel Fiber to SDI Mini Converter with dual SDI outputs), FiDO 2R (dual channel Fiber to SDI Mini Converter), FiDO-T (single channel SDI to Fiber Mini Converter with looping SDI output), FiDO-2T (dual channel SDI to Fiber Mini Converter) and FiDO-TR (SDI/Fiber transceiver Mini Converter). The FiDO dual-channel transmitter and receiver units provide conversion and transport of two streams of SD, HD or 3G (in any combination) within one Mini Converter package; this ability provides the highest density and lowest cost per channel, and also allows stereoscopic 3-D infrastructures an inexpensive, compact and convenient way to move the highest quality HD signals across a facility.

CineForm’s Neo3D software delivers a comprehensive 3-D editorial workflow, enabling users to create 3-D QuickTime or AVI files that include temporally aligned left and right eyes and edit 3-D projects in real time with full frame-rate playback to an external 3-D monitor. With expanded support for Neo3D software, AJA Kona 3 enables direct play-out of discrete left eye/right eye images and/or a mixed 3-D image. After making the appropriate selection in the Neo3D software, users with 3-D-capable LCD monitors or 3-D projectors can view stereo content by configuring the Kona 3 for stereo output via the AJA Control Panel application.

David Taylor, CEO and co-founder of CineForm, notes, “The consumer appetite for 3-D is just exploding. With that demand, the opportunities for 3-D content creators are enormous, but so are their challenges. The need for efficient 3-D editorial workflows is paramount, and it’s exciting for us to work with AJA to extend the 3-D viewing capabilities we designed with Neo3D to output and display through Kona, which is such high-quality hardware and a de-facto standard in so many professional workflows.”

Nick Rashby, president of AJA, says, “AJA’s goal is to provide affordable, high-quality, reliable hardware for workflows that address all of the industry’s needs. By working closely with CineForm we’ve enabled Kona 3 to support multi-platform stereo 3-D output. It’s a key component of AJA’s stereo pipeline, with solutions for acquisition, edit and delivery of 3-D material for broadcast and post.”

GenArts, Inc., a provider of specialized visual-effects software for the film, television and video industries, has announced the availability of GenArts Sapphire 5 for Adobe After Effects. Sapphire 5 couples the creativity, quality and reliability Sapphire is known for with GPU-optimized performance, a range of new effects and transitions, and full CS5 compatibility.

Sapphire 5’s GPU acceleration provides lightning-fast render speeds and full interactivity at HD resolutions. The updated plug-in suite also delivers full floating-point support for amazing image quality and maximum dynamic range, and offers new transitions and effects such as TVDamage and Technicolor. Additionally, Sapphire 5 fully supports 64-bit operations and Adobe’s CS5 release.

“While visual effects are certainly essential in today’s film and television industries, artists are constantly challenged to create fresh, compelling content that sets them apart from their competitors — on budget and on time,” says Steve Bannerman, CMO, GenArts. “With Sapphire 5 in their arsenal, After Effects artists will be able to push the limits of their creativity, generating one-of-a-kind looks without sacrificing deadlines.”

GenArts Sapphire 5 for Adobe After Effects is now available for both Windows and Mac. Floating licenses are priced at $2,499; node-locked licenses are available for $1,699. Users may upgrade from either Sapphire version 1 or 2 to Sapphire 5 for the special price of only $299, and monthly rental licenses are priced at $169.

GenArts, Inc. has introduced Monsters GT for Adobe After Effects. This unique collection of effects encourages endless creativity, making Monsters GT the perfect complement to the everyday tools found in the company’s Sapphire 5 for After Effects.

Monsters GT boasts more than 50 distinctive effects, including stylizing effects such as CCTV, NightVision and Brush; warping and distortion effects such as HeatHaze, Puddle and Ripple; particle- and fluid-dynamics effects such as Fire, Rain, Puddles and Smoke; and a series of smooth, particulate and stop-motion trails effects. Like Sapphire 5, Monsters GT fully supports Adobe’s CS5 release and offers an intuitive user interface to provide excellent control. Monsters GT also provides full floating point and GPU support for faster render speeds.

“GenArts tools have built an enduring reputation as essential elements of the toolkits of the world’s best artists,” says Steve Bannerman, CMO of GenArts. “Monsters GT continues that tradition with a new suite of inspired effects crafted to perfectly complement Sapphire. This new release is an important step toward our vision of offering customers the most comprehensive set of products across multiple host platforms so they can amplify their creativity and dazzle their audiences and clients.”

Red Giant Software has released its first iPhone app, Plastic Bullet. Created by filmmaker, photographer and Red Giant’s Creative Director Stu Maschwitz, Plastic Bullet adds to Red Giant’s growing line of photography tools.

“We all take photos with our cell phone cameras, usually with the intention of communicating something emotional to our friends and families,” says Maschwitz. “As cell phone cameras increase in quality, the images get more clinical, less emotional. They’re too perfect. Plastic Bullet is all about bringing emotion and spontaneity back to mobile photography. The creativity comes in how you respond to the infinite variety of results possible with the app.”

After users snap a photo with the iPhone’s built-in camera (or select a photo from the Photo Library), Plastic Bullet develops the shot into four totally random variations. Users can then save the variations or tap the Refresh button to see four completely different iterations. Plastic Bullet also lets users save the original shot so they can continue to develop random versions later.

Plastic Bullet is available for download from the iTunes App Store for $1.99.

Red Giant Software has introduced Guru Presets, a new product line created by handpicked industry experts. Each package offers unique preset animations, graphical elements or design templates ready for use in After Effects and unique film looks that work in the many hosts supported by Magic Bullet Looks and Magic Bullet Quick Looks.

Guru Presets allow users to jump into a project and get it done faster by having access to predesigned templates and effects presets that work with plug-ins from Red Giant. These presets and templates are ready to go as-is, or they can be easily modified by the user to fit almost any project.

Red Giant Software has introduced a family of plug-in applicatiosn for Adobe Photoshop. Magic Bullet PhotoLooks is a groundbreaking application that lets users manipulate and experiment with light while preserving essential photographic detail. Knoll Light Factory for Photoshop 3.1, created by Photoshop co-creator John Knoll, provides 19 powerful flare tools for creating custom effects and includes over 100 presets and real-time previewing.

Created by visual-effects expert Stu Maschwitz, the sophisticated presets and customizable tools in Magic Bullet PhotoLooks make it easy to control lighting conditions and create stylized effects for any image. Users can share Looks created in Magic Bullet PhotoLooks in After Effects, Premiere Pro, Final Cut Pro and Avid projects through Magic Bullet Looks. Custom Looks created in Magic Bullet Looks are also recognized in Photoshop through Magic Bullet PhotoLooks, allowing users to work seamlessly with digital images and video.

Photoshop co-creator and effects guru John Knoll developed Knoll Light Factory for Photoshop to mimic the reflections from a very bright light source as seen through a camera’s lens; it’s proven to be one of the most popular plug-ins for both Photoshop and After Effects. Knoll Light Factory for Photoshop 3.1 adds a new user interface with previews, undo and a single editing window; 50 new presets; operability on 32- and 64-bit Vista and Windows 7 systems as well as Mac OS X Snow Leopard; and compatibility with Photoshop CS3 and CS4, and Photoshop Elements 7.0 and 8.0.

“Extending our products to Photoshop users was a natural move for Red Giant Software,” says Sean Safreed, co-founder and director of products at Red Giant Software. “There is often a blurred line between people that do video and photography work. Our users have long demanded a version of Looks for Photoshop, and we have built Magic Bullet PhotoLooks specifically for them. We are also bringing the sales, support and engineering of Knoll Light Factory for Photoshop back in house from our publishing partner, Digital Anarchy.”

Magic Bullet PhotoLooks is available for $199 and Knoll Light Factory for Photoshop 3.1 is available for $149.

Boris FX, a developer of integrated effects technology for video and film, has introduced Boris Red Version 5. Boris Red is an integrated 3-D compositing, titling and effects application designed for Adobe, Apple, Avid, Grass Valley, Media 100 and Sony video-editing software. Boris Red 5 introduces support for 64-bit applications such as Adobe CS5 and Sony Vegas 9, adds more than 30 new filters and provides a score of new user interface and workflow enhancements, including ergonomic panels, a curve editor and a spreadsheet-style keyframe editor window.

Boris Red 5 is available for a recommended price of $995. Owners of previous versions of Boris Red can upgrade to Version 5 for $295.

Boris FX, a developer of integrated effects technology for video and film, has announced Boris AAF Transfer, a new plug-in designed for seamless transfer of Apple Final Cut Pro sequences to Avid Media Composer. Boris AAF Transfer uses Avid’s new Avid Media Access (AMA) architecture to transfer Final Cut Pro sequences without the need for transcoding or rewrapping.

“Improved integration between Adobe, Apple and Avid continues to be among the top requests we receive from digital media workgroups,” says Boris Yamnitsky, president and founder of Boris FX. “Our recently released Boris XML Transfer plug-in was enthusiastically embraced for transfer of Apple Final Cut Pro program sequences to Adobe After Effects. Now, with Boris AAF Transfer, we have leveraged Avid’s new AMA architecture to facilitate seamless transfer of Apple Final Cut Pro sequences to Avid Media Composer.”

Features of Boris AAF Transfer include third-party effects compatibility, Motion Tab support, Alpha Channel support, text generators and support for many of Final Cut Pro’s time-based effects. Boris AAF Transfer has a recommended price of $299 on its own or $399 when bundled with the Boris XML Transfer plug-in for Adobe After Effects.

Boris FX has announced the availability of Boris Continuum Complete 7 FxPlug, which brings over 210 filters to Apple Final Cut Pro, Motion and Final Cut Express. The new release features a three-way color-grade filter with built-in keying and masking tools, a video-noise reduction tool, an OpenGL particle engine, real-time title flare and luma glow effects, and much more.

Added to over one-third of BCC 7 FxPlug’s filters, Compare Mode enables users to compare the filtered result with the unfiltered source via either a side-by-side view or a live split-screen view. In the side-by-side view, users can view the unfiltered and filtered image result in the composite window as changes are made to the image. In the split-screen view, users can drag the wipe bar anywhere across the image to compare the filtered result with the unfiltered source at any zoom level. Additionally, the Compare Mode includes the unique ability to view the filtered result with a live filtered layer in the timeline.

Boris Continuum Complete 7 FxPlug is immediately available through the Boris FX worldwide reseller channel and direct from the Boris FX website for an MSRP of $995. Owners of previous versions of Boris Continuum Complete FxPlug may upgrade for $295.

Boris FX has introduced Final Effects Complete 6 AE, bringing 120 designer effects and transitions to Mac and Windows versions of Adobe After Effects and Premiere Pro CS5, CS4 and CS3. The release features 12 new filters and transitions, faster rendering, audio-driven keyframe generation, customizable animated presets and a new Compare Mode feature that enables users to compare the filtered result with the unfiltered source via either a side-by-side view or a live split-screen view. Each Final Effects Complete filter has been reengineered for 64-bit operating systems.

Final Effects Complete 6 AE has an MSRP of $895. Owners of previous versions of Final Effects Complete AE my upgrade for $295.

Cintel International has introduced the Ditto Evolution 2K/4K film scanner and ImageMill2 image-processing platform.

Building on the successful elements of the Ditto scanner — including excellent image performance, an easy-to-use interface and the D/SCOP Dust/Scratch Concealment Option — the Ditto Evolution offers a modular and upgradeable solution to film scanning. The Ditto Evolution provides fast shuttle capability, a non-pin registration mode for archive scanning, ImageMill2 processing tools and 3.2D density range.

“Ditto Evolution is the first film scanner to be instantly switchable from pin registration to non-pin registration and also the first film scanner to include film grain management and image stabilization tools,” says Simon Carter, sales director for Cintel. “It is the ideal film scanner for all applications and stock types, from OCN ingest for digital intermediates to dense print for restoration projects.” Simon Clark, Cintel’s business development manager, adds, “Ditto Evolution offers solutions to all film-scanning needs. It can evolve from a simple-to-use calibrated pin-registration scanner for digital-intermediate use with superb image quality to a multi-format, non-pin-registration machine for shrunken and damaged film incorporating a full set of image-restoration tools.”

The ImageMill2 image-processing platform adds network capabilities and data file management to the existing ImageMill feature set. Carter notes, “ImageMill2 will address the industry’s need for a fast yet simple-to-use noise and grain management tool for both data-centric digital-intermediate applications and restoration projects within one product. With speeds in excess of 25 fps for 2K and HD files, the performance of ImageMill2 is unequalled. We are currently processing 4K files at 10 fps and can also deal with SD files at twice real time. With ImageMill2 you can truly ‘eliminate the wait.’”

Kodak has added two films to its Vision3 family of motion-picture products: Vision3 200T 5213/7213, a medium-speed color-negative camera film, and Vision3 Color Digital Intermediate Film 5254/2254.

5213/7213 features extended latitude, enabling cinematographers to record more details in highlights, and delivers finer grain for natural-looking images in the darkest areas. The emulsion is designed for shooting in both controlled interiors and challenging high-contrast exteriors, and is available in all formats (65mm, 35mm, Super 16mm and Super 8mm).

ASC President Michael Goi, who had the opportunity to test 5213, notes that the stock “is a significant improvement over the already excellent Vision2 5217. Reds in skin tones have a noticeably more natural balance, and I felt I could almost touch the high-resolution results in texture.” M. David Mullen, ASC, who also tested the stock, adds, “This new film has an even finer grain structure with deeper black tones and richer color saturation, especially in the reds and flesh tones. The images were slightly sharper … and more consistent in overexposed areas. The white tones were cleaner after the film was scanned and converted to digital files. There is also a tighter grain structure … especially when it is used for daylight exterior scenes.”

5254/2254 is designed for use with contemporary film recorders. The imaging characteristics of this new intermediate film enhance the speed and efficiency of DI postproduction while rendering noticeably sharper images that more faithfully represent the intentions of filmmakers. The film provides an improved bridge between Kodak negative films and Kodak print films.

“These new Vision3 films are the tangible results of our ongoing commitment to filmmakers,” says Kim Snyder, vice president of the Eastman Kodak Company and president of the Entertainment Imaging Division. “They were designed based on our customers’ suggestions and with the goal of increasing creative freedom and efficiencies in production and postproduction.”

Universal Studios has opened four acres of newly rebuilt New York Street backlot locations. A fixture in Hollywood for decades, New York Street (which comprises 13 city blocks of buildings) has been the setting of countless commercials, television shows and feature films, including To Kill A Mockingbird, The Sting, The Blues Brothers and Back to the Future. The shooting location burned in an accidental fire on June 1, 2008; the rebuilt site offers a wealth of creative opportunities for film and television production and an exciting behind-the-scenes look at Hollywood moviemaking for Universal Studios Hollywood theme-park guests.

Immediately following the fire, Jim Watters, president and general manager of NBC Universal Operations Group, and Dave Beanes, senior vice-president of NBC Universal Production Services, began assembling a creative team to design the new street. Steven Spielberg offered his support, and he contacted production designer Rick Carter to be a part of the process. Carter collaborated with art director Beala Neel on the initial design concepts and scope of the rebuild, and Neel headed the team of production designers and graphic artists, which eventually expanded to a staff of 25.

Based on his own production experience and feedback from filmmakers, Beanes helped guide the core design team. They decided to keep the original east-west main street and add new locations, including a modern New York block with a glass-and-steel look, Paris Square, London Square and Central Park. The overall design concentrated on detail work that would cater to modern filmmaking needs. The façade heights have been increased 10' to 25' for an average height of 40' to 50', providing a realistic urban downtown feel. The new façades also feature unobstructed interior shooting spaces that can be built out, allowing productions to shoot interiors without returning to a soundstage. The width of the main street was narrowed so the camera could capture both sides of the street in the same shot, and long vista shots through archways are now possible, giving added depth to scenes.

For chase sequences, cameras can be positioned on the reinforced façade roofs or mounted on a crane to follow the action. The fire escapes are practical and built for use with actors and stunt people. The new Courthouse Square has a fire station large enough to hold a full-sized fire truck, and next door to the fire station is a modular gas station that can be dismantled and stored according to a production’s needs. As an added touch of realism, the manhole covers can emit special-effects steam, and London Square has chimneys rigged for special-effects smoke.

Universal Studios partnered with the Los Angeles County Fire and Building & Safety departments to create new guidelines for fire safety in the innovative façades, which now incorporate fully automatic sprinkler systems, a central fire-alarm system, built-in fire separation areas and a separate water supply infrastructure for the hydrants and sprinkler systems.

“This is a proud day for Universal Studios,” enthuses Ron Meyer, president and COO of Universal Studios. “The opening of New York Street shows the company’s commitment to film and television production in Los Angeles and to supporting filmmakers worldwide.”

Complementing its facilities in New York and North Carolina, EUE/Screen Gems has opened a studio complex with multiple stages and support services minutes away from the Atlanta, Ga., airport.

EUE/Screen Gems is undertaking a $6 million renovation of the property, located in the former Lakewood Fairgrounds site. The city of Atlanta agreed to the lease agreement in May, and one of four stages was already fully functional and in use by June. At press time, EUE Screen Gems planned to have four other buildings on the property completely updated by August. The existing buildings offer four stages ranging from 10,000 square feet to 35,000 square feet, plus more than 50,000 square feet for lighting and grip, mill shops and support services.

In addition to updating the existing structures, EUE/Screen Gems plans to construct a new 37,500-square-foot soundstage to be ready in March 2011. Current plans for the stage include a mobile, soundproofed wall that can also split the space into two smaller stages if necessary.

“Producers, directors and studios came to us and asked us to go into Atlanta,” says Chris Cooney, chief operating officer and co-owner of EUE/Screen Gems. “We chose this site so that producers and directors can book with us immediately. The need is here, and we’re here.

“Through our properties in New York City, Wilmington and now Atlanta, we provide coastal, rural and urban settings to our clients, as well as size and infrastructure needed to handle intensive special effects for film, commercial and gaming,” Cooney continues. “This urban location expands our portfolio in a powerful way.” The company was also drawn to Georgia’s 30-percent tax incentive for qualified production and postproduction expenditures. The credit is available not only to traditional motion-picture projects such as features, series, commercials and music videos, but also to industries such as game development and animation.

The Visual Effects Society will hold its second annual Production Summit for the greater entertainment industry on Oct. 23 at the Ritz Carlton Hotel in Marina del Rey, Calif. “Production Summit 2010: Navigating Tomorrow’s Business Models” will bring together professionals from all sectors of the entertainment community for a day of conversation and collaboration, with a focus on how to thrive in a rapidly changing global economic and technological entertainment environment.

“Our inaugural summit, held last October, proved to be an amazing success by offering a great opportunity to bring together leading creatives for a wide-ranging discussion covering the gamut from previs to building worldwide pipelines,” says Eric Roth, executive director of the VES. “Because industry changes come so rapidly and will likely continue to do so, we decided that bringing key industry stakeholders together annually would be beneficial to everyone.”

This year’s summit will include directors, producers, cinematographers, editors, technologists and visual-effects artists internationally acknowledged for their innovative thinking and responsibility for moving the industry into the next decade. Attendees will be encouraged to not only think outside the box, but also to reinvent the business models of tomorrow that will guide the future of the entertainment industry as its technologies, financial challenges, shrinking schedules, globalization and proliferating distribution platforms continue to evolve.

“It is of the utmost importance that we focus the entire industry on our collective future,” says VES Board Chair Jeffrey A. Okun. “It is time to work together to ensure that we, as a community, will be here to inform, create and operate within this new future. Now is the time to understand where it is going, to stop thinking of what we used to do, and to look forward and explore how to do it now, well and profitably.”

Redrock Micro has introduced the MicroRemote Focus System, an affordable, high-performance, wireless/wired focus-control system designed for use with any camera.

Designed for professionals and amateurs alike, the system includes a wireless/wired controller, a base station/receiver, motors and a range finder. The controller features an iPhone/iPod Touch interface for graphic display of focus information to aid precise focusing. The system is compatible with both still photo and cine lenses, and it can be used with third-party motors or with Redrock Torque motors. The MicroRemote also boasts modular functionality, allowing additional components to extend the system for multiple motors, multiple cameras and more.

The handheld controller features 2.4ghz production-quality wireless radio, with the option for a tethered connection via an integrated connection port. The controller also boasts an integrated rechargeable battery that concurrently powers an attached iPhone/iPod Touch, plus a D-tap power connection. The ergonomic design fits comfortably in the user’s hand, and the controller accommodates both left- and right-hand orientations. The system can be used to control focus, zoom and iris settings, and the controller also offers users camera start/stop functionality.

The MicroRemote iPhone/iPod Touch software, which requires an iPhone or iPod Touch running OS 3.0 or later, offers real-time graphic and numeric display of focus distance and focus scale as well as real-time display of the MicroTape sonar range finder distance. The visual display also shows depth-of-field information based on the lens and settings, plus an “auto focus” setting enabling the MicroTape to directly control focus.

The MicroTape real-time range finder offers accurate distance-to-subject display with a 25' range. The metric or imperial distance scale appears on both sides of the MicroTape in high-contrast blue. The MicroTape can be used on its own or in conjunction with the wireless remote, and it is configurable for use off-camera.

Supporting both wireless and wired control of the motors, the MicroRemote base station enables both automatic and manual lens calibration and incorporates a universal power port. Additionally, a wired finger controller offers precision single-finger focus adjustment with smooth rotary operation, and it easily attaches to a handgrip for ENG-style operation.

After three years of design, development and testing, Tyler Camera Systems has unveiled the MiniGyro camera-stabilizing mount. The handheld MiniGyro supports and stabilizes cameras weighing up to 30 pounds.

Weighing 21 pounds, the Tyler MiniGyro can be assembled or disassembled in under a minute. The stabilizer boasts variable-position handles, a quick-release mounting plate and an adjustable tilt head for shooting up or down. Additionally, a uniquely designed progressive shock tube eliminates vibration while supporting the MiniGyro and camera.

Designed to work in cramped quarters, the MiniGyro is ideal for shooting in helicopters, planes, cars, trucks, motorcycles and boats. A standard 28 to 30 VDC camera battery powers four brute gyro wheels and the electronics. The MiniGyro system fits into one custom 22-pound carrying case measuring 19"x23"x12" with a total shipping weight of 43 pounds.

AJA Video Systems has announced the availability of version 2.0 firmware for the Ki Pro portable digital-video recording device. Ki Pro 2.0 includes RS-422 device control, support for eight-channel embedded audio and support for gang recording with multiple Ki Pro units via the Web interface.

The Ki Pro is a portable, rugged, tapeless video-recording device that records high-quality Apple ProRes 422 QuickTime files onto computer-friendly media. Featuring SD/HD-SDI, HDMI and analog inputs, the Ki Pro enables users to interface with virtually any type of camera or video source they may own or rent. Intuitive to operate, the Ki Pro’s familiar VTR-like buttons provide immediate controls for basic operation, and from a distance, users can control the Ki Pro with a laptop or iPhone Web browser via Ethernet or wireless connection. Additionally, AJA has collaborated with Avid to ensure that, via Avid Media Access (AMA) plug-in architecture, the Ki Pro’s ProRes QuickTime files are directly compatible with Avid Media Composer and Symphony systems, allowing users to view, edit and play back the files with access to all clip metadata.

“Since Ki Pro delivers pristine 10-bit 4:2:2 image quality, many of our customers have been turning to it as a practical, cost effective alternative to a VTR on set, in the studio and in mobile production environments,” says Nick Rashby, president of AJA Video Systems. “Now with RS-422 device control, Ki Pro can interface to even more devices and workflows via industry standard machine control protocols.”

Ki Pro version 2.0 firmware is available as a free software download to all Ki Pro customers.

Lightcraft Technology and Mo-Sys, who have independently developed affordable solutions to simplify the tracking and visualization of complex visual-effects shots, have announced they will combine their product offerings in order to provide a full range of virtual-production tools for the entertainment industry. The companies have entered into a joint distribution agreement to sell each other’s products as well as their own in their respective regions, thereby supplying their customers with a single source for complete optical and encoded tracking and on-set visualization systems.

Lightcraft Technology builds the Previzion virtual studio system, which combines real-time photorealistic 3-D rendering, keying, lens tracking, compositing, metadata recording and camera tracking; the camera tracking works with either the inertial/optical combination of Lightcraft’s Airtrack precision gyro and Intersense’s IS1200, or with Mo-Sys encoded camera supports. Among Mo-Sys’ offerings is the 3D Inserter, offering fast and flexible live previsualization and data logging of camera moves on a virtual set. In addition to its own products, Mo-Sys will now distribute Lightcraft’s Previzion system in Europe, while Lightcraft will distribute Mo-Sys’ 3D Inserter, Motion Logger and full range of encoded camera heads and cranes in the Americas.

Eliot Mack, CEO of Lightcraft Technology, notes, “It is rare to find a company to work with that has Mo-Sys’ combination of technical expertise, vision and innovation. We are excited about the potential that this relationship will provide us and our customers as we expand the use of virtual production tools worldwide.” Michael Geissler, CEO of Mo-Sys, adds, “We are impressed with the competence and innovative spirit at Lightcraft. The collaboration brings together a unique and powerful complimentary chain of tools for next-generation filmmaking and ensures both stay at the forefront of developments to come.”

Gamma & Density has announced that its 3cP on-set color-correction system for cinematographers has been extended for use during the pre-post and post phases of a production. The enhanced 3cP Set + Post system allows for even more creative freedom for contemporary image makers while maintaining the predictable, consistent results 3cP has become known for.

3cP Set + Post includes a variety of new and improved tools for data management, color correction and previsualization. When used in conjunction with Blackmagic Design’s HDLinkPro, the software-based system allows cinematographers and digital-imaging technicians to color-correct a live HD-SDI stream in real time. Furthermore, color-corrected dailies created by 3cP Set + Post can be targeted for viewing on such devices as iPads and iPhones and can be produced in Apple ProRes and Avid formats.

3cP Set + Post also adds the ability to work with Red’s Mysterium-X sensor, accessing and decoding the data directly from its raw format to ensure the highest quality imagery. To further aid this task, Gamma & Density has added Red Mysterium-X tungsten and daylight color charts to its chart family, which already included Rec 709 and film charts.

Additional features of 3cP Set + Post include expanded support for the DaVinci/Blackmagic Design Resolve color corrector, an ability to previsualize lighting, support for generating Nucoda-style 3-D LUTs, enhanced P2 file handling, support for anamorphic and 3-D imagery, and more.

Calibrated Software has expanded its Calibrated{Q} family of QuickTime components with the introduction of Calibrated{Q} AVC-Intra Decode, a QuickTime decode codec that expands AVC-Intra-based postproduction by providing an easy and high-quality way to independently work with and view AVC-Intra files. The software speeds sharing, distribution and review of AVC-Intra files by allowing users to skip time-consuming conversion steps and tailor viewing immediately and specifically to their setup, regardless of platform and without having an editing application installed.

AVC-Intra is an advanced 10-bit video compression technology developed by Panasonic for cameras in the company’s professional P2 product line. Calibrated{Q} AVC-Intra Decode streamlines the use of AVC-Intra material by letting users share, view and work with AVC-Intra MOV files in QuickTime Player and other applications that support QuickTime directly on their Mac or PC systems with up to full 10-bit color depth and without requiring additional software, such as Final Cut Pro. AVC-Intra Decode also enables cross-platform, standalone playback and use of P2 AVC-Intra MXF files in QuickTime Player or Square Box Systems’ CatDV asset-management software when used in tandem with Calibrated{Q} MXF Import.

“We are excited by the development of products like Calibrated{Q} AVC-Intra Decode that extend the quality, flexibility and efficiency of AVC-Intra media into the postproduction process and provide customers with a comprehensive range of options for working with AVC-Intra files,” says Michael Bergeron of Media & Production Services, Panasonic Solutions Company. “Calibrated Software is an important provider of workflow tools for the broadcast and film industry and we are pleased to be welcoming the company as an official new member in the Panasonic P2 Partner Alliance.”

Greg Booth, president of Calibrated Software, adds, “As advancements in image formats continue to evolve, Calibrated Software is committed to delivering accessible tools that map today’s changing workflows and can be easily installed onto a user’s Mac or PC to help them see and work with their material as directly and immediately as possible. Many broadcasters and postproduction facilities are adopting a Panasonic AVC-Intra workflow, and Calibrated{Q} AVC-Intra Decode was created to facilitate rapid viewing and review of AVC-Intra material at up to full 10-bit quality and according to the end user’s specific platforms and needs.”

Version 1.0 of Calibrated{Q} AVC-Intra Decode for Macintosh OS X 10.5/10.6 (Intel only) and Windows 7/Vista/XP is now available.

With Magic Bullet Grinder, Final Cut Pro users now have a fast way to get DSLR footage from video-capable Canon DSLR cameras into their timeline for editing, add time code and generate proxies all in a single time-saving pass. Batch processing and multi-threading make for fast and painless conversion, allowing editing to begin even on location.

Light Illusion has released LightSpace CMS, a fully featured color-management system. The system is a continued development of Light Illusion’s widely adopted LUT Manager display and calibration software. LightSpace CMS brings major calibration enhancements to users, with full display and film-profiling capabilities, as well as the automatic generation of calibration LUTs from the various profiles generated.

Improving on Light Illusion’s 3D LUT Manager, LightSpace CMS makes it much easier to implement total color management facility wide for DI, visual effects, grading, animation, games or exhibition using any direct display or projection-monitoring system. LightSpace CMS is not only suitable for visualizing film images on digital displays, but also for directly matching different displays, allowing operators, colorists, supervisors, cinematographers and directors to see a matched final look at every point in the digital post chain.

“LightSpace CMS makes accurate color management available to all industry operations, and its new tools and capabilities really help to enhance facilities’ calibration capabilities and accuracy,” says Steve Shaw, CEO of Light Illusion. “While LightSpace CMS will be welcome in all facilities looking for high quality color management, its affordable price makes it easy for studios, post and broadcast facilities to establish company-wide color calibration, regardless of the specific display or creative hardware being used.”

Raising the bar on format flexibility, openness and speed, Avid has introduced the Media Composer v5, NewsCutter v9 and Symphony v5 editing systems. New features include native support for popular formats such as Red, QuickTime and Canon XF; support for Matrox MX02 Mini monitoring hardware, a low-cost external monitoring solution enabling field editing and simplified client screening sessions; HD-RGB finishing capabilities, allowing customers to keep high-end finishing in-house; multi-channel audio support; and an array of interface enhancements.

Avid Media Access enhances productivity by supporting the most popular file-based formats and eliminating the need for customers to transcode, re-wrap, log and transfer media. In addition to supporting Red .R3D, QuickTime and Canon XF files, the updated editing systems also support the AVCHD format as well as XDCam proxies, the latter offering access to proxy video and high-quality audio files, enabling customers to make more informed creative decisions in the offline edit and easily link back to full-resolution XDCam clips to complete projects.

The enhanced user interface in Media Composer, NewsCutter and Symphony offers a new timeline Smart Tool, featuring drag-and-drop audio and video elements as well as editing and trimming features for direct manipulation of clips in the timeline, providing customers with more choices in the way they work.

Media 100, a provider of advanced editing systems for the corporate, broadcast, postproduction and new-media industries, has announced the availability of Media 100 Suite Version 1.6. Version 1.6 supports Calibrated Software’s Calibrated{Q} MXF Import, AVC-Intra Decode and DVCProHD Decode products, allowing Media 100 Suite editors to directly open MXF files, import and play back AVC-Intra media, and play back media created in the DVCProHD codec. Version 1.6 also includes Boris XML Transfer Version 2 for Media 100 Suite, giving users the ability to export Media 100 Suite timelines to Adobe After Effects CS5.

Additional features of Version 1.6 include a new intelligent folder import option, which recognizes certain file and folder patterns (such as the Panasonic P2 folder pattern that commonly holds AVC-Intra media) and selectively imports files from those folders, and faster rendering of multi-layer Boris Red filters.

Media 100 Suite Version 1.6 is available through the Media 100 worldwide reseller channel and direct from the Media 100 website for a recommended price of $1,295.